Digital Intermediates

Technicolor Senior Digital Colorist Dave Cole is known for his expertise on a long list of major film releases, including Warrior, Act of Valor, TRON: Legacy, The Ides of March and the Alvin and the Chipmunks trilogy. P3 recently spoke with Cole about the impact of digital cameras, the importance of having a colorist involved early in the production process, and how working effectively requires the support of a good team.

The Digital Dilemma report published in 2007 focused on the archival status of motion pictures produced and owned by the Hollywood studios.

The Digital Dilemma 2 report deals with the archival status of independent narrative films and documentaries. Both reports were co-sponsored by the Academy of Motion Picture Arts and Sciences and the National Digital Information Infrastructure and Preservation Program at the Library of Congress. The research was a collaborative endeavor by Andy Maltz and Milt Shefter, who co-authored both reports.

The Digital Dilemma 2 report was co-sponsored by the Academy of Motion Picture Arts and Sciences and the National Digital Information Infrastructure and Preservation Program at the Library of Congress. It was co-authored by Andy Maltz and Milt Shefter. Maltz is director of the Science and Technology Council at the Academy of Motion Picture Arts and Sciences. Shefter is president of Miljoy Enterprises, Inc., a media asset preservation firm that provides consulting and project management services.

The digital intermediate (DI) has become an accepted part of the workflow for feature films ─ from the biggest blockbusters to smaller-budget independents. There are currently an enormous number of tools to get the job done, including software-based systems and the DI systems with the most bells and whistles. P3 Update has taken a look at some recent DI work to see the challenges that DI artists are facing and the tools they use to complete the job.